In an interview with The Sunday Times, the ‘Seventeen Going Under’ songwriter said: “The music industry is 80 per cent, 90 per cent kids who are privately educated. A kid from where I’m from can’t afford to tour, so there are probably thousands writing songs that are ten times better than mine, poignant lyrics about the country, but they will not be seen because it’s rigged.”

He drew more comparisons between his industry peers and his friends up North. Fender is from a working-class family in North Shields, a town in the borough of North Tyneside.

“Well, I’ve noticed that my drug addict friends who are posh go to rehab, but my mates with issues up there just die,” he commented.

He also spoke about the lack of popular conversation on class: “People are very unaware. We are very good at talking about privileges – white, male or straight privilege. We rarely talk about class, though. And that’s a lot of the reason that all the young lads are seduced by demagogues like Andrew Tate.

“They’re being shamed all the time and made to feel like they’re a problem. It’s this narrative being told to white boys from nowhere towns. People preach to some kid in a pit town in Durham who’s got fuck all and tell him he’s privileged? Then Tate tells him he’s worth something? It’s seductive.”

Research from various sources supports his claims about class barriers in the music industry. A report from the Sutton Trust found vast overrepresentation in the arts from those with affluent “upper middle-class backgrounds”. It also showed that 43% of Britain’s best-selling classical musicians are alumni of private schools.

Likewise, a report from national charity Youth Music titled ‘A Blueprint for the Future’ found that socio-economic class was the biggest barrier for young people being able to earn money through music – it highlighted the commonality of unpaid work, and how it impacts those from the working class without a safety net to fall on.

An article from Far Out Magazine also cited an unnamed study published in 2022, claiming that that since the 1970s, the number of creative workers (across multiple disciplines like music, film, art, etc.) from working-class backgrounds has significantly decreased to only 7.9%.

Sam Fender’s third album ‘People Watching’ was released on Friday, 21 Feb, and is heading to No. 1, seeing one of the biggest opening weeks of 2025 on the UK album charts. It’s received widespread critical acclaim for its storytelling and personal and social themes, with The Guardian commenting: “Ultimately, this is a lonely document of fame, and of a man clinging on to the community his talents have propelled him away from.” He’ll be touring the UK later this year.

Fender has also been chosen as the latest ambassador for Record Store Day UK, later in April this year. You can read our article on that here.

Elton John and a chorus of creative elites are urging the UK government to rethink AI copyright proposals.

Why it matters? The current plan could allow AI to mine creative works *without* permission, risking a blow to artist rights and economic growth.

Creative icons like…

— AI News (@DailyAITechNews) February 22, 2025

The proposed changes introduce an “opt-out” system, meaning artists and creators would need to proactively prevent their work from being used by AI systems. Opponents argue this unfairly shifts the responsibility onto artists, rather than requiring AI companies to seek permission before using copyrighted material. Earlier this month, the House of Lords has rejected the proposed copyright law changes, meaning the UK government’s attempt to relax copyright protections has been blocked for now. However, if the House of Commons strongly supports the changes, they may attempt to override the Lords’ decision. Alternatively, public and industry pressure could influence future policymaking.

Sir Elton John expressed his deep concern over the potential impact on the UK’s creative sector to the Daily Mail, stating that these reforms could “destroy the UK’s leadership that has been hard won” and “give it all away for nothing”. With this new statement, the musician joins the likes of Ringo Starr and Kate Bush to speak about the worrying dangers of AI in the music industry. The former Beatles member Sir Paul McCartney has also previously voiced concerns over AI exploitation of artists’ work, emphasising that the profits from AI-generated works should rightfully go to the original creators.Music mogul Simon Cowell has also voiced his opposition, warning that AI, if unregulated, could “wipe out” musicians, songwriters, and industry professionals. He stressed that maintaining strong copyright protections is vital to ensuring that creative individuals receive fair compensation for their work. Bestselling author Kate Mosse has spoken out from the literary perspective, warning that AI’s access to published works without consent could have devastating consequences for writers.

The UK government has launched a consultation on the proposed changes, seeking to balance innovation with the protection of creators. In January 2025, a government spokesperson stated that they aim to “deliver legal certainty through a copyright regime that provides creators with real control, transparency, and helps them license their content”.

As discussions continue, the unified stance of these influential artists highlights the growing concerns over AI’s potential to disrupt the creative industries. Their call to action underscores the urgent need for policies that safeguard the rights of musicians, writers, and other artists in an era of rapid technological advancement.

The Labour government has expressed intentions to reset relations with the EU, aiming to address trade and mobility issues affecting various sectors, including the creative industries. Labour leader Keir Starmer has acknowledged the challenges facing UK musicians and has pledged to work towards a bilateral agreement with the EU to remove excessive barriers. His proposed plan includes advocating for visa waivers for touring artists, streamlining customs processes, and collaborating with industry stakeholders to ensure UK talent remains competitive on the international stage.

A recent report by the UK Music industry body highlighted that many artists have been forced to cancel European tours due to financial constraints. Some festivals and venues in the EU are also reluctant to book UK acts, given the bureaucratic hassle of hiring British talent.

At this year’s Members Day, ISM President @nickythespence spoke to Katie Derham about the barriers musicians face with touring the EU post-Brexit.

Sharing personal experiences, Nicky explained how complicated red tape is ‘diminishing’ the UK’s musical exportpic.twitter.com/5Gz7dg0NhA

— ISM (@ISM_music) September 19, 2024

Several UK musicians have publicly expressed concerns about the challenges they face when touring in the European Union post-Brexit. For instance, Kate Nash and Lily Allen have both joined OnlyFans to help fund their musical careers. Additionally, internationally acclaimed baritone Simon Wallfisch said for Clash magazine: “I took it for granted as a young musician that I could work as easily in Munich as I could in Manchester. It is devastating to see how young British musicians today will never experience the world-is-your-oyster mentality I felt as a young musician.”

These proposals would have permitted AI developers to train their models using artistic work, without the required consent from music creators. Suggested a controversial ‘rights reservation’ system, this framework would require creators to explicitly reserve their rights to prevent AI firms from using their work freely. 

Drawing widespread criticism, many argued that this approach undermines the foundation of copyright law and contradicts international copyright law. 

The @UKHouseofLords has voted to extend #copyright law to cover #AI training, sending a bill back to the commons to be debated again #GenAI #tech https://t.co/SOnb657R5J

— AI Media News (@AI_Media_News) January 30, 2025

Sir Paul McCartney, bass guitarist and pianist for the Beatles, has been one of the loudest voices in the fight against these proposals. Speaking to Laura Kuenssberg in a BBC interview, he shared “You get these artists coming through who write a beautiful song, and they don’t own it, they don’t have anything to do with it, and anybody can rip it off. The truth of it is that the money is going somewhere. When it makes its way onto streaming platforms, somebody is getting the money, and it should be the creator rather than some tech giant.”

Thankfully, in a vote of 145 to 126, the House of Lords passed amendments to the Data (Use and Access) Bill which reinforces copyright protections against unauthorised AI use. 

Crossbench Peer Baroness Kidron, who proposed these amendments, stated, “It surely goes without saying that our United Kingdom copyright law has to counter the increasing theft of intellectual property by artificial intelligence companies.” 

She went on to compare the Government’s approach to a shopkeeper being required to opt out of shoplifting and challenged the claim that AI could contribute £400 billion to the UK economy by 2030, revealing that this figure originated from an AI lobbying group funded by Google.

Paul McCartney Speaks Out on AI and Artist Rights The legendary Beatle urges the UK government to protect creators from AI misuse! McCartney warns that proposed copyright law changes could allow tech companies to exploit artists’ work without fair compensation. … pic.twitter.com/B4pMTlOSVF — TechAmerica (@techamericaofcl) January 25, 2025

McCartney, Kate Bush, and others have long campaigned for stronger AI regulations. A petition he signed last year, calling for stricter AI copyright protections, has garnered over 40,000 signatures including other artists like ABBA’s Bjorn Ulvaeus and Kate Bush. 

Beyond the policy, McCartney warns of AI’s broader impact on artistic expression, stating “If they take the incentive away by not protecting copyrights, I think you’d see a loss of creativity. That’s a great pity because it brings so much joy to the world.”

This issue extends beyond copyright – it’s about the future of music and culture. The UK’s creative sector generates £125 billion annually, which fuels the UK’s soft power and is essential to the nation’s global influence, with these new amendments highlighting the Government’s commitment to protecting the creative industries and putting artists first. 

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This debate brings to light a broader struggle between technological developments and the rights of human creators. While AI presents opportunities for innovation, it must not come at the cost of artistic integrity. Moving forward, a balanced approach – one that fosters AI development while ensuring creators are properly recognised and rewarded – will be crucial in preserving the nation’s culture.

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Nash, who has been a vocal advocate for the survival of smaller venues, used her platform to stress the importance of grassroots music spaces in fostering new talent and keeping live music alive. “Thank you to all the MP’s who came to listen to all the passionate speakers about the state of the music industry. The future of UK music is in your hands (and my bum).” The singer said on her Instagram.

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Her advocacy work comes at a critical time. Over the past few years, the UK’s live music scene has seen a troubling wave of venue closures. Many venues, which often operate on slim margins, have been hit hard by rising costs, the impact of the pandemic, and a lack of government support. According to MVT, more than 35% of grassroots music venues in the UK have closed over the 20 years and the situation remains dire. The Music Venue Trust’s report highlights the urgent need for government intervention and new policies to ensure the survival of these cultural institutions.

MVT is a key partner in Independent Venue Week. Both organisations share a mission to support grassroots music venues and collaborate to amplify IVW’s impact. MVT provides resources, advocacy, and campaigns like ‘Save Our Venues’, which align with IVW’s efforts to celebrate and protect these vital spaces. Together, they raise awareness about the challenges venues face and highlight their importance to the music ecosystem.

Additionally, the ‘Foundations’ singer has turned to OnlyFans, a platform typically known for adult content but increasingly used by musicians and creators to engage with fans and generate income. Nash revealed that she had been using the platform to fund her career and creative projects.

Kate Nash is such a real one#MusicBusiness #LiveMusic #Touring pic.twitter.com/fnxtSNCnEt

— Julia Thee Junglist Historian (@Miss_Toppin) January 25, 2025

The singer’s activism and transparency about her financial struggles resonate with many other artists who are increasingly turning to crowdfunding, merchandise sales, and platforms like Patreon to fund their work. As Nash’s career continues to thrive outside the mainstream industry structure, her performance at Parliament underscored the broader issues facing independent musicians, who often rely on grassroots venues as much as they rely on independent funding to stay afloat.

The evening’s performance and advocacy brought together artists, industry leaders, and policymakers in a conversation about the future of live music and the survival of grassroots venues. Nash’s performance is a call to action for the government to do more to support these essential spaces, ensuring they continue to provide a platform for the next generation of artists.

EMI (Electric and Musical Industries) was a renowned British record label founded in 1931. It played a significant role in the global music industry, producing and distributing music across various genres. EMI was home to legendary artists and bands, including The Beatles (signed to EMI’s Parlophone subsidiary), Queen, Pink Floyd, and David Bowie. Today, the EMI name continues to exist under Universal Music Group, representing a legacy label that shaped the modern music landscape

EMI Records have been so soo good to us this year. So grateful for them :’)

— georgia (@georgiabull__) December 4, 2024

For the third consecutive year, EMI secured the top position with a 10.5% market share in combined consumption. This achievement was driven by successful releases from artists like Taylor Swift, whose album ‘The Tortured Poets Department‘ sold 783,820 units.

RCA Records came in second for combined consumption in 2024, holding a 10% market share. RCA was particularly strong in track streams, leading with a 10.8% share. The label’s success was bolstered by domestic breakthrough artist Myles Smith, whose single ‘Stargazing’ sold over a million units, and Beyoncé’s album ‘Cowboy Carter’, which sold 137,499 units.

Polydor Records was third on combined consumption. With a 9.9% market share, Polydor’s success was attributed to artists like Sabrina Carpenter, whose album ‘Short n’ Sweet‘ sold 372,956 units, and her chart-topping singles ‘Espresso’, ‘Please Please Please’, and ‘Taste’. Polydor Records may get recognition for Sabrina Carpenter’s success with ‘Short n’ Sweet‘ due to its role in distribution and international marketing, even though Sabrina is primarily signed to Island Records. Both Polydor Records and Island Records are subsidiaries of Universal Music Group (UMG) and artists signed to one label under UMG can have their work promoted by other UMG labels in specific territories. In Sabrina’s case, Polydor took charge of her European releases, while Island focused on her U.S. promotions.

Forth was Island Records, known for its diverse roster, Island Records saw success with artists such as Noah Kahan, Hozier, and Chappell Roan, contributing to its strong market presence. Parlophone benefited from releases like Coldplay’s ‘Moon Music‘, enhancing its position in the market. Warner Records achieved notable success with Dua Lipa’s third album ‘Radical Optimism‘ and Warner Music’s Atlantic label enjoyed success with Charli XCX’s ‘Brat’.

The increased support for women in the music industry has had a profound effect on recorded music consumption. Their artistic output has driven innovation and boosted the industry’s growth, further emphasizing the importance of diversity and representation in music. These labels have played a pivotal role in shaping the UK’s music landscape in 2024, supporting a range of artists and contributing to the industry’s growth.

Important piece by @CaitlinParrNews today – The Moon was a vital part of the music scene in Cardiff, and joins a list of places that have closed in the city over the last few years.

Venue closure prompts calls to protect music scene https://t.co/8wtPkyJLhb

— Dan Moffat (@Dan_Moffat1998) January 2, 2025

In an official statement, The Moon said: “Every week on average two UK grassroots live music venues close. Sadly it’s now our turn. As of today we’ve handed our keys back to our landlord and The Moon will be closed.

“Despite our best efforts to keep going during the past few years, the burden of a cost of living crisis and the mounting costs of running a business where survival always runs on a knife edge have proven too difficult for us to continue.”

This closure is part of a broader trend affecting the UK’s live music scene, with numerous venues shutting down due to financial strains. Tiger Tiger London, renowned nightclub in Piccadilly Circus, closed permanently after 26 years. The venue is set to be turned into a hotel. Revolution Bath, a popular bar in Bath that closed in November 2024, was part of a larger restructuring plan by the Revolution Bars Group, which involved closing 25 locations across the UK to avoid insolvency. Historic venues like The Prince Albert in Brighton face ongoing threats from development projects.

So, I was at The Prince Albert in Brighton the other week… pic.twitter.com/wVbY03yoTa
— PunkAndNewWave (@NewWaveAndPunk) December 17, 2023

The reasons for closures include the rise of operational costs, noise complaints and planning policies often resulting in licensing issues, gentrification, lack of funding and investment, and general shift to larger venues and festivals. But these smaller music venues are vital for supporting emerging artists and maintaining diverse cultural offerings.

Organizations like the Music Venue Trust (MVT) are campaigning for increased government support, financial aid, and protective legislation to safeguard grassroots venues. Coldplay’s recent pledge to donate 10% of profits from their UK shows to the MVT is an example of industry-led efforts to address these challenges and the MVT’s CEO, Mark Davyd, noted that such contributions could significantly prevent further closures.

To counteract these closures, public support through attendance, advocacy, and donations to preservation campaigns is critical.

In 2021, they commissioned a report from the Tyndall Centre for Climate Change Research to assess the carbon footprint of live music and provide recommendations for reducing emissions. In August 2024, they organized a show in Bristol named ‘Act 1.5’ implementing 25 measures to minimize carbon emissions, including promoting local attendance, utilizing renewable energy, and serving plant-based foods.

In line with their environmental advocacy, Massive Attack recently declined an invitation to perform at Coachella 2025. Frontman Robert Del Naja criticized the festival’s location in Palm Springs, highlighting the excessive use of public water supplies in a desert area and its basis in a golf resort. He described the situation as “ludicrous” and indicative of irresponsible human behaviour.

Trip-hop pioneers Massive Attack have revealed that they rejected an offer to play Coachella 2025 on environmental grounds.

“A brilliant bit of infrastructure in the worst possible place it could be — in the worst setting in the world.”

More belowpic.twitter.com/Rnfz33Xl1A

— Far Out Magazine (@FarOutMag) December 18, 2024

Looking ahead to 2025, Massive Attack plan to release new music that has been ready since 2020 but was delayed due to record label disputes. Additionally, they are collaborating with artists like Billie Eilish to promote sustainable touring practices, such as encouraging the use of rail travel for concert attendees.  Billie Eilish has also been a prominent advocate for environmental sustainability within the music industry. The American singer criticised practices such as producing multiple vinyl editions for albums, highlighting the associated resource wastage. Eilish has also expressed her disdain for lengthy concerts, referring to them as “psychotic”, which some interpreted as a critique of industry norms. For her ‘Hit Me Hard and Soft: The Tour’, Eilish has introduced several eco-friendly measures: Fans are encouraged to bring their own reusable water bottles to concerts, the tour provides information on sustainable travel methods to venues, such as biking, walking, or public transportation, to minimize carbon emissions, plan-based food is offered, and merchandise associated with the tour is produced using environmentally friendly materials, such as recycled cotton and plant-based inks, to lessen environmental impact.

Some of the things Billie Eilish has done for the environment — a thread pic.twitter.com/zTRsdlny83 — (@theprfctpony) March 28, 2024

The British band Coldplay has planned residencies, such as a 10-night stint at Wembley Stadium, instead of traditional tours to minimize carbon emissions. Additionally, for their album ‘Moon Music’ (2024), they have produced vinyl records made from recycled plastic bottles, further supporting their eco-friendly initiatives. During their ‘Music of the Spheres’ world tour, which will continue into 2025, Coldplay committed to reducing direct CO₂ emissions by over 50% compared to their previous tour in 2016/17. They achieved a 59% reduction, surpassing their initial goal. This accomplishment was verified by the MIT Environmental Solutions Initiative.

Other artists such as Missy Higgins, the Australian singer-songwriter, has equally aimed for her tours to be carbon neutral and was named one of Billboard magazine’s Top 10 Green Artists in 2007.

The environmental pressure group, Music Declares Emergency, launched in July 2019, comprises musicians and music industry professionals advocating for climate action. Signatories include artists across various genres and organizations such as Abbey Road Studios and major record labels. Their aims include encouraging the music industry to innovate practices to reduce carbon footprints and engaging communities in climate discussions. These artists and organizations exemplify the growing movement within the music industry to address environmental concerns and promote sustainable practices.

TikTok is a short-from video sharing platform that allows content creators to use copyrighted music in their videos. This feature is central to TikTok’s appeal, with viral trends on the platform often featuring copyrighted music. One such trend involved Sophie Ellis-Bextor’s ‘Murder On The Dancefloor’ which became one of the most used tracks on the app after its feature in Emerald Fennel’s 2023 film Saltburn. As a result, the 2001 dance track shot up the UK top 100 as well as charting in the US for the first time. In light of TikTok’s reliance on copyrighted music, much of which is owned by UMG, the label has said: “Ultimately TikTok is trying to build a music-based business, without paying fair value for the music.”

UMG’s open letter states concerns over artist compensation, the use of AI songs, a topic that UMG has been critical of before, and the poor moderation on the platform. Although all these issues are common on TikTok, the timing of UMG’s open letter would suggest that an inadequate licencing deal was the catalyst for UMG’s dissatisfaction with the platform. UMG stated that the social media company’s offer was “worth less than the previous deal, far less than fair market value and not reflective of their [TikTok’s] exponential growth.”

The same day that UMG released their open letter, a representative from TikTok responded, saying: “Universal Music Group has put their own greed above the interests of their artists and songwriters.” TikTok’s response aimed to portray the platform as one that “serves as a free promotional and discovery vehicle for their [UMG’s] talent.” Although it is true that artists often see an increase in attention from exposure on TikTok, this increased traffic is rarely sustained on a long-term basis.

Artists on TikTok are paid per video rather than per view. According to the music promotion company, SoundCampaign, artists with an 100% share of their own royalties receive $0.003 (£0.0024) per video that features their music. Artists receive no payment with regards to views on individual videos that include their work.

UMG has accused TikTok of “selectively removing the music of certain… developing artists, while keeping on the platform… audience-driving global stars.” In response to these poor negotiations, UMG has pulled some of its music from TikTok. Aiming for maximum disruption UMG has, at time of writing, removed both Drake’s and Taylor Swift’s official music from TikTok.

Universal’s actions have already been received poorly by many TikTok creators. TikTok creator Evan Cronin, who spoke to The New York Times today, has had music retroactively removed from his videos, making his content an “essentially a dead post”.

Artists have responded with their own reactions to the UMG dispute, with indie singer Beabadoobee acknowledging the removal of her work from TikTok. In her response, Beabadoobee posted a video that includes a version of her song ‘Talk’ played at two times speed in order to circumvent automated copyright recognition on the platform.

Whether this dispute reaches a resolution or not, it is clear that, for now, many of the world’s largest artists will have their music entirely removed from TikTok. With UMG having no current disputes with other short-form video platforms like Instagram Reels and YouTube Shorts, it remains to be seen whether TikTok creators will end up migrating to other platforms which have working relationships with UMG.

When asked his thoughts on the recent advancements in AI platforms, the 76-year-old expressed his fear on it’s potential impact and how he thinks AI could change the music industry for the worse.

May told the magazine, “My major concern with it now is in the artistic area. I think by this time next year the landscape will be completely different. We won’t know which way is up. We won’t know what’s been created by AI and what’s been created by humans,”

He continued, “Everything is going to get very blurred and very confusing, and I think we might look back on 2023 as the last year when humans really dominated the music scene. I really think it could be that serious, and that doesn’t fill me with joy. It makes me feel apprehensive, and I’m preparing to feel sad about this.”

Whilst the English rock legend claims that “a lot of great stuff will come from AI, because it is going to increase the powers of humans to solve problems”, he is still apprehensive about the technological advance, stating “I think the whole thing is massively scary. It’s much more far-reaching than anybody realised — well, certainly than I realised”.

The notion of using computers to generate music is definitely not new, however, recent leaps in AI technology have expanded the possibilities of what computers can do in the music industry. For example, AI platforms such as ChatGPT are now able to replicate songwriting and music production to create entirely computer generated music, therefore eliminating the whole writing and recording process artists go through.

Brian May is not the first musician to share their thoughts on AI’s impact on the music industry, and he definitely won’t be the last.

Nick Cave revealed in his blog, The Red Hand Files, that he believes AI songwriting to be a “grotesque mockery of what it is to be human”, while Sting told the BBC that he isn’t impressed by AI, and songwriters will have to fight to protect “our human capital against AI”.

Some artists however, are seemingly big fans of the way technology is evolving in the music industry. For example, Canadian singer-songwriter Grimes is allowing fans to use her voice in AI generated songs, so long as they share the royalties with her.

I’ll split 50% royalties on any successful AI generated song that uses my voice. Same deal as I would with any artist i collab with. Feel free to use my voice without penalty. I have no label and no legal bindings. pic.twitter.com/KIY60B5uqt

— Grimes (@Grimezsz) April 24, 2023

Brian May‘s conversation with Guitar Player magazine is set to feature in the October 2023 issue, however, you can read the interview online here.